Indigo S
by Rhea's Teleplays
Summary: When Grissom is brutally attacked, Ecklie and Grissom’s team join forces to catch his attacker. As clues lead them to a teenage serial killer, they quickly realize Grissom may have sealed his fate trying to save one of the other victims.
1. Teaser

CSI: CRIME SCENE INVESTIGATION

"Indigo"

TEASER

FADE IN:

INT. 1423 FLAMINGO - NIGHT

**NICK** Stokes is listening to the phone ring as he stares at a doorframe. Assistant Coroner David Phillips and another assistant coroner are trying to pull knives that have pinned a body to a doorframe. Nick turns away when the assistant accidentally squirts blood all over himself.

NICK  
(to phone)  
Come on, Grissom. You can't ignore  
me all night.

EXT. FRITZ HOME - NIGHT

SUBURB street. There's a sense that something dark has happened, but no tale-tell signs. A nosey neighbor watches the house at the end of the street, 313 Roper, from his living room. Outside are parked a patrol car and CSI vehicle, but the house is dark.

INT. FRITZ HOME - NIGHT

The home is middle class small HOA residence. Nice, but lived in. Somewhere there is a cell phone ringing. The illusion of a peaceful family home breaks as headlights of a car flash across the wall. In running red, EMILY has been painted across the wall.

INT. FRITZ HOME - UPSTAIRS HALL - NIGHT

Blood is everywhere. It's congealed on the walls and ceiling. Drag marks have stained the plush blonde carpet. EMILY is written everywhere.

At the end of the hall is a linen closet. It's too dark to see the doors have been secured with a cut electrical cord.

In a room there's noises, a female struggling, two men laughing.

The phone stops ringing.

On the floor the carpet looks black where blood has soaked down to the wood underneath.

INT. FRITZ HOME - HALL CLOSET - NIGHT

In the closet are bleeding, twisted dead bodies. A boy. A man. A teenage girl. A mom.

Sandwiched between the two bottom bodies is a man's wrist and wristwatch. The face of the wristwatch is cracked, but the timepiece keeps ticking, keeping beat with blood dripping on it.

INT. FRITZ HOME - MAIN BATHROOM - NIGHT

A damaged smartphone lying against the baseboard begins ringing again. On the bleeding LCD screen, a dim picture of a smiling **CATHERINE** Willows appears on the screen.

EXT. I-515 - NIGHT

Catherine walks away from an accident, heading back to her Denali. Down her shirt and pants is a coffee stain. She's listening to her phone ring and then it picks up.

GRISSOM (ON PHONE)  
(cheerily)  
You've called Grissom's cell phone.  
Leave a message.

The message frustrates Catherine; it shows in her long sigh, rolling eyes, tightening lips.

CATHERINE  
(to phone)  
Gil, where the hell are you? I've  
been calling you for two hours!  
Look, this accident was just an  
accident. I'm heading over to help  
Nick get a door. Then I'm coming to  
find out what has had you ignoring  
everyone for two hours. Call. Me.

She hangs up as she climbs in and starts the Denali. Her phone rings. The screen reads -- Conrad **ECKLIE**. She answers it.

CATHERINE  
What's up, Ecklie?

ECKLIE (ON PHONE)  
I'm still looking for Grissom.  
Where is he?

CATHERINE  
Contrary to what you and everyone  
else thinks, I don't baby-sit him.

INT. FRITZ HOME - HALL CLOSET - NIGHT

The hand of the watch and wrist flinches.

ECKLIE (V.O.)  
Because he usually calls you when  
he's avoiding everyone else,  
including me. So where is he?

On the other end of the wrist, on the other side the bodies, is Gil Grissom. He is unconscious, bleeding, mortally wounded.

CATHERINE (V.O.)  
Ecklie I don't know where he's at,  
but tell ya what; I'll let him know  
you called me instead of him. Will  
that work?

ECKLIE (V.O.)  
(bitter)  
Thanks, Catherine.

The phone starts ringing again. A gun goes off, silencing the phone.

SMASH CUT:

OPENING CREDITS.

FADE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. FRITZ HOME - NIGHT

To establish.

INT. FRITZ HOME - HALL CLOSET - NIGHT

**GRISSOM** opens his eyes. There's a thin sliver of light coming through the door, cutting across his bruised, swollen, fractured face. Blood from a body above him is dripping across his cheek and off the side of his nose.

Grissom looks up at the clothes hanging overhead and moves his eyes slowly to an umbrella sitting in a corner. He starts to pull his arm back and lets out a soft cry as a fracture gives way to a break.

He lies still for a few minutes, then grits his teeth and yanks his arm out. He cries out, holding his arm to his chest.

He reaches out with his other hand and tries to push a body off him. The bone snaps in two places, one piercing through the skin. He cries out in pain, dropping his broken arms to his chest. He hears footsteps.

GRISSOM  
Help.

A gun cocks and bullets riddle the door. Grissom turns his head away, closing his eyes tight. Most of the bullets disappear into the back wall, but a few hit metal and ricochet.

One whizzes past Grissom's cheek, searing the skin. The shooting stops and he hears footsteps retreat. Grissom opens his eyes. He tries to wrestle his way out from under the bodies, but every move brings new pain.

The shooting starts again. Grissom's arm slips across the bloody abdomen of the teenager and is trapped between her and her mom's chest. He tries to pull back but it hurts too much.

A bullet passes through the bodies and into his abdomen. Grissom passes out.

I/E. CSI VEHICLE - NIGHT

Catherine drives down the road toward the dark Fritz house. Nick sits next to her, keeping his eyes on the house as she swings the vehicle around to park in front and behind the other vehicles.

Nick rolls his window down before Catherine kills the engine.

The nosey neighbor has gone to bed. For a couple seconds the two listen the night sounds: crickets, a coyote yapping in the distance, some night birds calling. A half moon has risen high enough it offers a little light.

NICK  
This isn't right, Catherine. Where  
the hell is Grissom? Why aren't  
there any lights on?

She grabs her police radio from the dash. Keys it.

CATHERINE  
Willows to dispatch.

DISPATCHER (ON RADIO)  
Dispatch.

CATHERINE  
We're at 313 Roper. The uni and CSI  
reporting to this scene can't be  
located. Did they report in?

DISPATCHER (0n radio)  
Not since either reported they'd  
arrived on scene.

CATHERINE  
The officer reported multiple  
bodies on the initial call. Was a  
coroner ever requested?

DISPATCHER (ON RADIO)  
Negative. Officer reported after  
requesting CSI that a coroner  
wasn't needed.

CATHERINE  
We need units here, dispatch.  
Report ETA.

DISPATCHER (ON RADIO)  
Dispatching now. ETA five minutes.

NICK  
Might want to ask for medics.

CATHERINE  
(to dispatch)  
Dispatch medics for a routine call.

DISPATCHER (ON RADIO)  
Dispatching medics. ETA will be  
twenty minutes.

CATHERINE  
Willows out.  
(sets radio on dash)  
Feel like waiting for backup?

Nick climbs out, drawing his sidearm. Catherine is right behind him. The two cautiously approach the house and enter.

INT. FRITZ HOME - NIGHT

The two stop inside the door. In the dim moonlight they can see enough to be concerned. Blood covers the floors. EMILY is painted in giant red letters everywhere.

CATHERINE  
Gil?

No answer. Both jump when a board creaks somewhere in the house.

NICK  
Grissom? Is that you?

Gunfire explodes from the dark and the two bolt into the nearby living room. They press against the wall as bullets fly past them through the door. The shooting stops suddenly.

NICK  
Police are on their way! Put down  
your weapon and--

The shooting begins again. The bullets go through the wall, forcing the CSI to the floor. They press against the baseboard to avoid being shot. The shooting stops and they wait until they hear the back door slam shut.

They spring to their feet and run out of the room to follow, just as the front door bursts open. The CSI and five LVPD officers aim at each other before the two groups realize they're on the same side. **OFFICER MCKENZIE** lowers his gun.

OFFICER MCKENZIE  
We heard gunfire when we got here.  
Are you two okay?

CATHERINE  
Yeah. I think the shooter went out  
the back.

Two officers run toward the back.

CATHERINE  
Doctor Grissom and an officer were  
supposed to be here, their vehicles  
are still out front. We need to  
look for them.

**OFFICER AIRIK**, a petite but tough woman, looks around them.

OFFICER AIRIK  
But this is still a crime scene?

CATHERINE  
Yes.

OFFICER AIRIK  
Okay. We'll take the perimeter and  
first floor. One of you want to  
take the basement and second floor?

NICK  
I've got the basement.

CATHERINE  
I'm upstairs.

The CSI and officers separate to search for their people.

INT. FRITZ HOME - BASEMENT STAIRS - NIGHT

With his flashlight held over his pistol, Nick creeps down the steps into the basement. His flashlight keeps revealing EMILY written on the walls.

INT. FRITZ HOME - BASEMENT - NIGHT

He's expecting something or someone to jump out at any minute. He comes around the stairs and sees a puddle of blood. Slowly he walks up to it and then around it.

There is a defined void in the center -- not enough blood to kill an adult, but enough to weaken them. Bloody hand, knee, and shoe prints show where the person got up and headed upstairs. There are clear and defined brush strokes in the blood.

Nick turns, continuing his search for Grissom and the missing officer. His flashlight shows him a cupboard large enough to hide a couple of bodies. A broom has been pushed through the handles to lock it and the doors have been shot.

He slowly walks toward it and pulls the broom out. He falls back, waiting to see if anything happens. When nothing does, he reaches for the handle.

INT. FRITZ HOME - KITCHEN - NIGHT

Officer Airik slowly enters the kitchen, her flashlight finding EMILY painted on everything. She pauses the light on a phrase written across the refrigerator.

INSERT - DONALD'S MESSAGE

when Emily comes once more, you  
will be no more.

BACK TO SCENE

She moves the light to the pantry door. The angle makes the bullet holes stand out. She aims down at the blood congealing in front of it. Brush strokes cut through the puddle.

Airik moves over to the pantry and tries the door. It doesn't budge. She notices the slide lock has been slid into place. She reaches up to unlock it.

INT. FRITZ HOME - UPSTAIRS HALL - NIGHT

Catherine comes off the steps. She holds her gun in one hand and the flashlight in the other. Her light keeps flashing across EMILY, but she's ignoring the evidence for now.

She turns into the first room she comes to.

INT. FRITZ HOME - PRETEEN'S ROOM - NIGHT

A child caught between a childhood and a teenager lived here. EMILY has been painted in here too. There is a bloodstain on the floor near the bed and the closet door is open. Between the closet and stain is a swatch of blonde hair.

Catherine moves on.

INT. FRITZ HOME - SON'S ROOM - NIGHT

There is blood in the bed. This is the only room EMILY isn't written. The room is decorated with trains and cars. A night-light is all that illuminates the room. There is no closet, no place to hide bodies. Catherine continues her search.

INT. FRITZ HOME - TEEN'S ROOM - NIGHT

She stops inside the door, shining her light around. Everything in the room tells the story of a vibrant, athletic teenager who loves being both a tomboy and a young woman. Jewelry and make-up on a vanity. Dirty soccer uniform hanging from the hamper.

EMILY has been painted across the back wall, curtains, and window. The door of the closet is cracked open. Catherine walks to the door and pushes it open.

The floor is bloodstained and bloody pieces of rope lie in the blood. There are two voids in the blood. But no Grissom or officer.

INT. FRITZ HOME - PARENT'S ROOM - NIGHT

The scene isn't much different here. A lot of blood in the bed. A patch of blood next to the bed with voids in it. EMILY painted across the walls and furniture.

The closet has been torn apart -- someone looking for something or a struggle?

INT. FRITZ HOME - MAIN BATHROOM - NIGHT

Catherine stops in the door. There is a large puddle of congealing blood in the center of the room. Brush strokes cut through the fluid. This room has the largest amount of cast off -- something violent happened here.

Her flashlight pauses on the mirror, as she reads the message on it.

INSERT - DONALD'S MESSAGE

when you first see Emily, you will fear her

BACK TO SCENE

She starts to turn but stops, shining her light on the smartphone lying against the baseboard. She skirts the blood and holsters her gun as she crouches. A bullet has punctured the keypad, but she pushes a couple buttons in hope.

The phone is dead. Catherine stands and wanders out to the hall again. She shines her light on the double doors of the hall closet. They have been secured with a cut electrical cord.

Bullets have punctured the doors from top to bottom. Catherine walks over to it and begins unwinding the electrical cord...

INT. FRITZ HOME - BASEMENT - NIGHT

Nick throws open the doors of the cupboard and the corpse of a dog flies out at him. He scrambles back, falls, and turns, staring. Inside are cleaning supplies and a dead cat. Both animals have been shot.

INT. FRITZ HOME - KITCHEN - NIGHT

Officer Airik slips the latch and swings the door open, aiming her gun in anticipation of an attacker. But there is none.

Lying on the floor is an unidentified man who looks twenty-five, and the missing LVPD officer, both shot and lying in blood. The blood pool has been disturbed by brush strokes.

She moves around the blood and checks for a pulse on each. Officer Airik stands, grabs the mic on her shoulder, and keys it.

OFFICER AIRIK  
Dispatch. We need a coroner.

INT. FRITZ HOME - HALL CLOSET - NIGHT

The doors swing open. Surprised by the scene, Catherine draws back.

CATHERINE  
Oh God...

Dead eyes stare out at her. Dad and son were shot in the head. Someone took their time with the girls and mom, killing them slowly and painfully. Catherine looks down as she starts to turn.

She freezes, looking back over her shoulder. Her flashlight moves across the floor, the bodies, and stops on the cracked face of the wristwatch. In the light she sees the silvery reflection of Looney Tune's character Taz. The light glints across the brushed WB pewter logo attached to the leather band.

**INT. GRISSOM'S OFFICE - DAY (RE-ENACTMENT)**

**Grissom stands next to his filing cabinet reading a file. He doesn't look up when Catherine joins him. She has her hands behind her back, hiding something.**

**CATHERINE  
Grissom, do you know what time it is?**

**GRISSOM  
No.**

**CATHERINE  
You haven't bought a watch yet,  
have you?**

**GRISSOM  
I haven't had time.**

**She presents him with a boxed watch. He smiles at her and she returns it.**

**GRISSOM  
Catherine, there's a cartoon in the watch.**

**CATHERINE  
Lindsay picked it out for you after  
you flew into see the last half of  
her recital and left right after.  
She said it reminded her of you. And  
the supervisor's meeting started  
ten minutes ago.**

**Grissom trades her the box for the folder and hurries out. She chuckles.**

**BACK TO SCENE**

INT. FRITZ HOME - HALL CLOSET - NIGHT

The hall light has been turned on. Catherine kneels in the blood, pushing-pulling bodies off of Grissom. She doesn't give a damned about evidence, only getting to Grissom. As soon as she can see him shock forces her to pause.

There isn't a part on him that isn't torn, broken, fractured, bruised, or swollen. The worst of the injuries are to his head and face.

CATHERINE  
No. Please... No...

She leans in, reaching for a wrist. She pulls back. She reaches for the other. She pushes bloody hands into her hair, streaking her hair. She doesn't know where to touch him. Finally she reaches down and pushes two fingers into his neck. Catherine turns.

CATHERINE  
I NEED A MEDIC UP HERE!

Catherine turns back to Grissom. She hears feet pound across the floor downstairs and up the steps. Nick clears the top, running toward her. He comes to a sliding stop on his knees next to her.

NICK  
Grissom?

Grissom's eyes open to slits. He doesn't see either at first. He sees a little girl with curly blonde pigtails wearing a pink dress with sequins that read 'Princess' across the front. She moves away as Catherine comes into focus.

CATHERINE  
Grissom. Look at me.

Grissom tries to. He has no coordination.

Officer Airik and Officer McKenzie run up.

NICK  
(to Airik)  
Where's the medics?

Airik informs dispatch that the situation just turned critical. Catherine takes Grissom's hand when his eyes close.

CATHERINE  
Grissom look at me.

FADE TO:

INT. AMBULANCE - NIGHT

The sirens are muffled. Grissom rocks to the sway of the vehicle. A **PARAMEDIC** reaches across him, checking an EKG pad on Grissom's chest. Grissom flinches when the paramedic pushes on an injury.

PARAMEDIC  
Gil? Gil Grissom? Can you hear me,  
Gil? Answer me if you can hear me.

CATHERINE  
Casey, I need another compress.  
Blood's coming through this one.

Plastic rattles.

PARAMEDIC  
The tape's by his leg.

Grissom opens his eyes to slits. He sees the child in the pink dress again.

GRISSOM  
(whisper)  
Who are you?

The girl moves away as Catherine moves into view. Catherine smiles, carefully sliding her hand in his. The paramedic works around her, splinting limbs and applies fresh bandages on top of blood soaked ones.

CATHERINE  
Hey there.

Grissom stares at her.

CATHERINE  
You were attacked, but you're going  
to be okay. Everything's going to  
be okay.

PARAMEDIC  
Do you know what day it is, Gil?

Grissom swallows before answering.

GRISSOM  
(whisper)  
No.

PARAMEDIC  
Can you tell me where it hurts the most?

GRISSOM  
(whisper)  
No.

The answer makes Catherine's smile waver. Grissom's eyes slowly close.

GRISSOM  
(whisper)  
Tell Sara... Move... On.

That makes Catherine start to cry.

CATHERINE  
What?

Grissom doesn't answer.

INT. FRITZ HOME - PRETEEN'S ROOM - NIGHT

Nick is wearing bloodstained clothes. He dusts the foot of the bed with fingerprint powder. He picks up a fingerprint card and stands, tries to peel the adhesive from the board.

His hands have been shaking, making it difficult. He stops, takes a breath. It doesn't steady his hands. He doesn't hear a group of people stop in the door behind him.

He pulls back the adhesive and positions it over a fingerprint. With hands still trembling he lowers the adhesive to the print. At the last minute, his hand jerks, and smears the print.

In a rage Nick kicks his kit across the room. He spins around, coming face to face with Ecklie. The two stare at each other. Nick glances at Greg and the five more CSI standing in the door.

ECKLIE  
Where do you want us?

NICK  
What?

Nick looks down at the field kit in Ecklie's hand. He understands what's being asked now.

NICK  
I... I don't know.

ECKLIE  
I can handle assignments. Is that  
okay, Nick?

Nick nods.

ECKLIE  
Alison and Jose, head to the  
basement. Richard and Kipp, take  
the first floor. Dana and I will  
cover the perimeter. That will  
leave you and Greg up here. Will  
that work, Nick?

NICK  
Yeah.

ECKLIE  
(to the others)  
Lets get started.

Greg stays in the door until the others leave. He sets his kit down and walks over to pick up Nick's kit. Nick joins him.

GREG  
Emily is written everywhere. Any  
idea who she is?

NICK  
No.

Greg notices Nick's hands are still shaking.

GREG  
Catherine called me on the way  
over. I have clean clothes in the  
Denali if you want to go change.

Nick shakes his head. They finish picking up Nick's kit.

GREG  
I'll lift if you want to dust.

NICK  
Okay.

The two start processing together.

INT. SUNRISE HOSPITAL - WAITING AREA - NIGHT

Rows of chairs -- the kind that are not comfortable and are all angles -- fill the area. There are other people in the room waiting for word about their loved ones.

Catherine stands at the window, staring at flowers outside. The flowers seem to glow against the darkness. She looks up, seeing the reflection of a doctor behind her, and turns.

Doctor** IAN** has worked for years alongside the graveyard CSI and considers most of them friends -- especially Grissom. He's just come out of surgery on Grissom and has no good news.

CATHERINE  
It's bad, isn't it?

He nods. Catherine sits down, bracing herself for this. Doctor Ian sits across from her, leaning his elbows on his knees.

IAN  
I was able to stop the internal  
bleeding, but that's the least of  
my worries. The head trauma has  
caused an epidural hematoma and  
swelling. I wouldn't be surprised  
if he goes into a coma.

CATHERINE  
What about the rest of his injuries?

IAN  
It would be easier to tell you what  
bones weren't fractured or broken.  
Luckily most of his spine was  
spared, and his left jaw, some  
smaller bones in his feet and  
hands.  
His attacker worked him over good.  
Gil didn't go down fast or easy. He  
fought, Catherine.

Hearing Grissom fought back has little consolation.

Ian's pager goes off and he glances at it.

IAN  
He's being moved to ICU 4, and I'll  
stay on as his attending. Catherine,  
Grissom has a DNR. It is limiting  
what I can do for him.

She stares at him.

CATHERINE  
He never... Mentioned that. Who's  
his advocate?

IAN  
I can't say, but he said he just  
signed it yesterday. The advocate  
and Grissom's attorney are trying  
to find a loophole.

Ian reaches out, taking her hand.

IAN  
I'm trying to find one too. Grissom  
caught the man that murdered my  
Agatha. I owe him this.

She smiles.

CATHERINE  
Thank you.

He nods as he stands. She watches him leave and then turns to stare at the flowers again. Her phone rings and she looks at it. On the display a picture of Sara appears. She draws a deep breath and then answers it.

CATHERINE  
Hi, Sara. I, uhm... It's Grissom,  
Sara. He's hurt. How soon can you  
get to Las Vegas?

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

EXT. FRITZ HOME - EARLY DAWN

With flashlights, Ecklie and CSI **DANA** are searching the perimeter. The sun has just begun rising on the horizon. Dana disappears behind a sagebrush and emerges brandishing two guns.

DANA  
I found a revolver and pistol!

Ecklie slowly turns to her with a tense expression.

ECKLIE  
And what do we do with evidence  
when we find it? Do we hold it up  
in the air and let the world know?

Dana lowers her hand.

DANA  
No, sir. We bag and tag it.

She walks over to her kit to do just that. Ecklie turns back to searching. His light glints across metal under a bush. He crouches down and reaches under the spiny bush.

He grimaces as the thorns tear his skin but he continues pushing his arm further. He pulls out a bloody crowbar. Hair is stuck to the weapon and in the hooked end he can see bits of skin.

ECKLIE  
Bring me an evidence bag, Dana.

DANA  
Yes, sir.

INT. CSI - MAIN LAYOUT ROOM - DAY

Lab Tech **WENDY** is laying out printed diagrams of the Fritz house. She has multiple colored paper flags that she's applying at each spot of blood marked on the diagrams. Some have multiple flags.

Nick walks in with photograph printouts.

NICK  
Archie said you picked up the diagrams.

WENDY  
You were busy. I thought I could  
get started on the bloodstains and spatter.

NICK  
I could have done that.

Wendy stops, staring at him. He notices after a moment.

NICK  
What?

WENDY  
The more time we take, the further  
away his attacker is getting.

Nick nods. She turns back to the diagrams. As she talks, she points to the spots in the individual rooms.

WENDY  
Every sample of the paintings on  
the wall came back as blood from  
two or more victims. Blood from the  
Officer Carson is only in the front  
hall and the drops to the kitchen.  
The smear across the floor into the  
pantry was his, so he must have been  
killed there. In the hall there are  
drops from the dog to the basement.  
From the living room, the cat to  
the basement. The blood pool in the  
basement was all Grissom, as were  
the drops on the bottom steps. Upstairs--

NICK  
Wait a second. There are drops from  
Grissom on the stairs?

WENDY  
Yes.

NICK  
Go on.

WENDY  
Upstairs, blood from the teenager  
and female child were in these two  
bedrooms and there were drops to  
the hall closet. The son was in  
this room, no drops in the hall.  
Dad's blood is in the bed and was  
smeared across the carpet to the  
hall closet. Mom's blood next to  
the bed and then smeared to the  
hall closet. In the bathroom, the  
largest donor was Grissom. That's  
probably where he...

Wendy stops, tearing up. Nick rubs her shoulder.

NICK  
Do you need a minute?

She shakes her head, getting over it quickly.

NICK  
You have unknown 1 and 2 in the  
upstairs bathroom and in the kitchen.

WENDY  
Unknown 1 is the John Doe found in  
the pantry with Officer Carson.  
There was a lot of his blood in the  
bathroom, down the hall, stairs,  
and right at the back door. Then  
drag marks from the back door to  
the pantry.

Nick sorts the photographs, separating them by room and examining them. He lays them out, showing directionality.

NICK  
(distant)  
How did this play out?

Wendy thinks about it and begins to envision what transpired...

**INT. FRITZ HOME - BASEMENT - NIGHT (RE-ENACTMENT)**

**Grissom slowly climbs down the stairs, kit in one hand and flashlight in the other. He stops, staring at EMILY painted on the wall. He leans in to examine it, sets his kit on a step. Grissom pulls out a pre-moistened swab and then swipes the paint. **

**Behind him a faceless adult comes around the open door with a crowbar in hand. The person creeps down the steps, lifting the crowbar in anticipation.**

**Grissom spritzes the swab with luminol. He shines his light on it, watching the swab change color to identify blood. The attacker swings, smacking Grissom over the head. Grissom tumbles down the stairs and the attacker follows. He's on Grissom before he gets a chance to get up. Grissom tries to fight back but he realizes he's outmatched and lies still. **

**The attack stops after a few more strikes. The attacker drops the crowbar and walks upstairs. Somewhere above one of the girls screams. Grissom opens his eyes. He tries to get up but the attack has caused enough injury that he can't move right away. **

**Blood begins to pool around him. The girl screams again. **

**Grissom drags himself to his feet, picks up the crowbar, and heads up the stairs. The blood falls on the lower steps, but stops before he gets to the top.**

**INT. FRITZ HOME - UPSTAIRS HALL - NIGHT (RE-ENACTMENT)**

**Grissom creeps along the wall, crowbar gripped in both hands. He can hear the girl crying and a man cussing at her. Grissom comes to the bedroom door and sees the man on top of the girl. **

**He gets a good grip on the crowbar, and attacks. The man is caught by surprise and quickly goes down, but the dark figure from before comes in. The faceless adult grabs Grissom from behind. Thrown off balance, Grissom can't keep the attacker from taking back the crowbar.**

**Grissom is forced to fight for his life. The attacker backs Grissom into the bathroom, gets him down and this time he doesn't stop.**

**BACK TO SCENE**

NICK  
No. That's not what happened.

WENDY  
How do you know?

NICK  
Grissom wouldn't have attacked the  
killer. He would have called for  
backup and gotten out of the house  
or somewhere safe. He wouldn't have  
done that.

WENDY  
How can you be sure? Do you really  
think he would have abandon a child  
in trouble?

NICK  
Yes! He would have known he was  
more help calling for backup. It's  
more likely he was forced upstairs.

WENDY  
Maybe. But I really think he went  
to help someone.

NICK  
No. If you think he'd have done  
something so stupid, then you don't  
know him.

WENDY  
If you think he wouldn't have  
helped, then you don't know him.  
Nick, we may be civilians, but we  
still vowed to protect and serve.

Nick can't argue with that. He sighs, looking at the photographs.

NICK  
If that is what happened, he should  
have served more than he protected.  
It wasn't worth his life.

Wendy doesn't argue with that.

INT. CSI - A.V. LAB - DAY

Archie is working at the computer when Greg walks up and stands next to him.

GREG  
You paged?

ARCHIE  
Your John Doe is seventeen-year-old  
Curtis Pike. The other unknown is  
fifteen-year-old Donald Conway. You  
think Curtis talked this kid into  
helping him kill the family?

GREG  
What's the kid's records look like?

ARCHIE  
Both escaped from the Clark County  
Juvenile Detention Center during  
transfer. Curtis doesn't have much  
of a record. One grand theft auto,  
but he returned the car and then  
was arrested. A couple drug charges.  
But this fifteen-year-old... He is  
hard core, Greg.

GREG  
What's his say?

ARCHIE  
Age seven, cited for cruelty to  
animals. Age eight, charges pressed  
for assault on another child. Age  
nine, six more assault charges. Age  
ten, assault with a weapon, armed  
robbery, and raped a five year old.  
Geeze! The last charge was aggravated  
assault with a weapon. He put a kid  
in the hospital for putting down  
his favorite music artist.

Greg joins Archie.

GREG  
Marilyn Manson?

ARCHIE  
Danzig.

Greg uses a landline to make a phone call. Ecklie walks into the lab, standing behind the two. Both notice him, but don't acknowledge him.

GREG  
(to phone)  
Hey, Doc, do you have the x-rays  
from the hospital? Grissom's.

ECKLIE  
Who's this?

Ecklie motions at the screen.

ARCHIE  
One of the fingerprints flagged  
this kid. Do you think a fifteen-  
year-old could have killed Gris--  
the family?

Ecklie reads the screen.

GREG  
(to phone)  
No. I'll call Catherine and ask her  
were he x-rays are. She might still  
be at the hospital.

Greg hangs up.

ECKLIE  
Do we need a warrant for this kid, Sanders?

GREG  
Wouldn't hurt, but we have to find  
him first.

ECKLIE  
I'll get it. Catherine needs you to  
pick up the x-rays. Doctor Ian has  
a copy of Grissom's medical file  
waiting at the front desk at  
the hospital.

Greg leaves. Archie looks back at Ecklie.

ARCHIE  
Are you working this case too?

ECKLIE  
Yes.

ARCHIE  
That's pretty cool of you, Ecklie.

ECKLIE  
Make sure you finish scanning the prints.

Archie nods and Ecklie leaves.

INT. CSI - HALLWAY - DAY

Ecklie stops, leaning against a wall. For a moment it looks like he may not hold it together. A lab tech comes around the corner and he pretends to be making a cell phone call. When she's gone, he walks away.

INT. SUNRISE HOSPITAL - ICU ROOM 4 - DAY

Grissom's left leg and both arms are in casts. The rest of him is wrapped in bandages. The only parts of his face not covered are his eyes and lips. A respirator breathes for him.

Catherine sits on the windowsill near the bed, staring out at the neighborhood. Sara walks up behind her.

SARA  
Catherine?

She turns and the two women don't speak right away. Sara walks up the bed to lay her hand on Grissom's.

SARA  
Any change?

CATHERINE  
He went into a coma.

Sara turns her head a little.

SARA  
Why don't you take a break?

CATHERINE  
Sure. If you need relief, call me.

Catherine stops at the door and turns.

CATHERINE  
The last thing he said, in the  
ambulance, was to tell you 'move  
on.' What does that mean?

Sara shakes her head.

SARA  
I don't know.

Catherine isn't convinced but doesn't argue and leaves.

Sara carefully climbs into the bed next to Grissom and lies beside him. She kisses his eyelid before laying her head on the pillow next to his.

SARA  
Gil, you can't give up on me. I  
wouldn't know how to move on  
without you.

INT. CORONER'S OFFICE - DAY

Nick, Greg, **DAVID,** and Ecklie wait as **ROBBINS** snaps x-rays into a lightboard. Nick is holding a case file. When Robbins finishes, he picks up a file from a nearby table.

David is the only one not running on a volatile combination of little sleep and adrenaline with a side of frayed nerves.

ROBBINS  
Doctor Ian's report is just preliminary.  
When I do the autopsy, I'll--

ECKLIE  
Maybe we could focus on what you  
have now and not what you hope  
you'll get.

ROBBINS  
What I hope to get?

NICK  
_When_ you do the autopsy? He isn't  
dead yet!

ROBBINS  
That isn't what I meant. I meant--

GREG  
You can't do an autopsy unless he's  
dead, and he isn't, so what the hell  
did you mean?

The intensifying fight stuns David.

ROBBINS  
You three are mincing my words. I  
say that with every other victim.  
It doesn't mean anything.

ECKLIE  
This isn't every other victim, Albert.

ROBBINS  
Since when do you give a damn what  
happens to Grissom!

DAVID  
STOP IT!

David snaps the folder away from Robbins and opens it. He quickly thumbs through the pages and before any of them can attack him, starts reading.

DAVID  
Ian says that during post-surgery  
he noticed the blood around the  
lower extremity wounds was dry.  
That leads me to think Grissom  
was attacked twice.

Nick opens his case file.

NICK  
That is consistent with the blood  
patterns. There was a bloodstain  
with a defined void matching  
Grissom's measurements on the  
basement floor. We found drops on  
the basement stairs and  
directionality indicates he went up  
after he was injured. The next place  
Grissom's blood was found was in  
the upstairs bathroom and a smear  
from the bathroom to the closet.

DAVID  
Ian couldn't identify the order the  
injuries occurred. He did find trace  
in the head wounds.

GREG  
It was ceramic tile that matched  
the tile in the bathroom. There  
were chips in the floor tiles where  
the weapon had hit the floor. Most  
likely transfer occurred during  
the attack.

David flips through pages, then walks up to the x-rays. He points out the injuries as he talks about them.

DAVID  
There were cleaved indentations on  
the skull at least seven millimeters deep.

ECKLIE  
Judging from that description it  
sounds like the crowbar. Wendy  
confirmed the blood and hair were  
Grissom's, and both Grissom and  
Donald's prints were on it.

DAVID  
Ian recovered a bullet from the  
lower abdomen and Catherine appears  
to have signed for it. I'll take  
the bullets we have from the other  
victims upstairs for comparison.  
The last comment...

David shuts the report.

DAVID  
That's all.

ROBBINS  
What was the last comment?

DAVID  
Information about what drugs he is on.

Ecklie holds his hand out for the report.

ECKLIE  
I need to make copies before you  
send it back.

David hands Ecklie the file. Nick snatches it away before Ecklie can take it. Greg runs interference as Nick flips through to the last page.

NICK  
DNR has been temporarily lifted  
until validated. Starting patient  
on aggressive life support and  
referring for second opinion.

Nick looks up at David.

NICK  
You wanted to hide the DNR from us?

DAVID  
No. I--

GREG  
Then why didn't you read it?

David sighs, looking at the others.

DAVID  
I didn't want you four to worry any  
more than you already are.

NICK  
And hiding a DNR would help avoid worry?

DAVID  
No. That's not what I didn't want to do.

NICK  
Then what? What would make us worry  
less than not knowing Grissom has a DNR?

DAVID  
With the extent of injury to his  
head, Grissom really needed to be  
on oxygen in the last twenty-four hours.

ECKLIE  
Why?

Robbins points at the head x-ray that shows how extensive Grissom's skull injuries are.

ROBBINS  
He can hardly breathe. He's had  
severe blood loss. If his body  
hasn't been able to get ample  
supply of blood and oxygen to his  
brain, he's suffered permanent  
brain damage.

The disheartening revelation silences the CSI. Ecklie takes the file and walks to the doors. He stops and turns suddenly.

ECKLIE  
Gil will be fine.

The CSI and morticians stare at him. Ecklie nods. He's struggling to hold it together.

ECKLIE  
He's going to be fine. It's just  
going to take a while. Before long  
we'll be fighting over cases and  
procedures, and you four will never  
let me live this moment down. He'll  
be fine.

Ecklie leaves.

DAVID  
Was that Ecklie being concerned?

GREG  
Or something like it.

NICK  
Let's give that house a once over,  
Greg. Make sure we haven't  
missed something.

The two CSI leave. David and Robbins start pulling off x-rays, and David puts them back in their envelope.

ROBBINS  
Thank you.

DAVID  
For what?

ROBBINS  
Trying to protect us.

David flashes him a smile.

DAVID  
I have to run the bullets upstairs  
and order copies of the x-rays.  
I'll be back in an hour.

David picks up an envelope from the desk and leaves. Robbins slowly sits down on a stool, staring across the empty CORONER'S OFFICE.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. FRITZ HOME - MAIN BATHROOM - DAY

Greg stands in the bathroom door staring at the blood. His kit is clutched in one hand, his other is balled into a tight fist.

NICK (O.S.)  
I've turned this house inside out  
and haven't found anything new.

Greg doesn't answer.

NICK (O.S.)  
Greg?

Nick appears at his side. Greg doesn't reply. Nick leans against the doorframe.

NICK  
Did it finally hit home?

Greg nods.

Nick rests his head back against the frame, looking up. He stares at a gold chain with a ring hanging from the attic door overhead.

NICK  
Greg... There's an attic.

Greg turns.

GREG  
What?

Nick stands up, walking out into the hall under the chain. He jumps up, latches a finger through the ring, and pulls the door open. He jumps aside as the ladder folds out to meet the floor underneath.

The two walk up to the ladder, looking into the dark space above. Nick pulls his flashlight off his belt and starts up the ladder. Greg is right behind him.

INT. FRITZ HOME - ATTIC - DAY

Nick clears the stairs and sees a string hanging from a bare bulb. He pulls it, turning on the bulb. The attic runs the length of the house and is half finished. Holiday decorations, a few pieces of light weight furniture, several trunks, stacks of boxes.

Nick starts searching through the items. Greg clears the steps and starts in the opposite direction. After a minute he stops and turns, watching Nick.

GREG  
Why are we searching up here?  
Nothing happened up here.

Nick looks up at him.

NICK  
Why this family, Greg? Why kill  
them? That's been bothering me.  
Everyone else Donald has attempted  
to kill, he's had some connection  
to. The Detention Center rep told  
me that Donald's foster family  
waived guardianship rights six months  
ago and had the file sealed. Donald  
has several rape charges, yet there  
was no DNA on either of the girls.

GREG  
You think this was his foster family.

NICK  
I think so.

GREG  
There aren't any pictures of him  
anywhere in this house.

NICK  
The foster parents gave up on him  
and tried to remove him from their  
lives. If that kid ran back here,  
and found that out, it would have  
been more than enough reason for  
him to kill the entire family.

GREG  
It doesn't explain why he killed  
the officer or Grissom. Or his accomplice.

NICK  
I think the officer and Grissom  
were just in the wrong place at the  
wrong time. Maybe Curtis wasn't  
supposed to rape the girls, or once  
Donald was done using him, he shot  
Curtis too.

Satisfied with why they're searching, Greg goes back to it. He comes to a trunk and uncovers the answer to Nick's theory.

The trunk is piled with torn photographs and picture frames that had been haphazardly tossed in. They are the missing photographs of Donald and the family imitating a happy Normal Rockwell family.

**INT. FRITZ HOME - ATTIC - DAY (RE-ENACTMENT)**

**Mrs. Fritz comes into the attic crying, devastated. She has her arms full of pictures and frames. She runs to the trunk, throwing it open. Behind her Mr. Fritz and her teenage daughter follow. **

**The woman throws everything in the trunk and then slams it shut. She falls to her knees crying. Her daughter and husband try to console her.**

**BACK TO SCENE**

GREG  
Nick.

Nick trots over. He dons a latex glove and picks up a photograph. He sets it down and heads for the stairs.

NICK  
I'm going to get an evidence bag.

Greg spins around.

GREG  
I'll come too.

Nick turns, staring at him. Greg stops.

GREG  
What?

Nick smiles.

NICK  
There's six policemen here. You'll  
be fine for a few minutes.

Greg is embarrassed that Nick has guessed why he didn't want to stay.

GREG  
I was going to get a lantern. It's  
real dark up here.

NICK  
I'll grab one.

Greg watches him leave. He takes a long look around the dark, eerie attic. Finally he turns back to the trunk, kneeling before it.

He pulls out the photographs, boxes, and other Donald memorabilia. As a young child he didn't smile any more than he did as a teenager.

Greg finds report cards -- Donald aced every subject. He comes to a stack of blank books tied so tight the string is cutting into the spines and edges.

Greg grabs his kit from near the ladder and returns. He pulls the books out, carefully unties the string, and then bags it.

He sits down and starts reading. Donald's words leap out at him:

DONALD (V.O.)  
...eighth birthday party was  
boring. I wanted to slit everyone's  
throats. Watch them laugh while  
they died...

Greg is on the last book when a figure comes up the ladder.

DONALD (V.O.)  
...Mrs. Pots failed my creative  
writing assignment for violence. I  
stood outside her house tonight and  
watched her. I could hear her  
scream for mercy as I stabbed her  
to death...

The person is carrying something in their hand and starts toward him.

DONALD (V.O.)  
...it felt good to kill that  
yapping mutt. The owner's crying  
about it. I thought leaving it on  
the barbecue just the way I slit it  
open was a great gift...

Greg sets the book aside and pulls a metal box from the trunk.

DONALD (V.O.)  
...I could smell the blood as I  
pulled the guts of the horse out.  
Is this what it's like pulling human  
guts out? Warm, slimy, sweet smell  
of blood. It oozed down my arms and  
covered me. I couldn't drink enough  
of it...

The figure stops right behind Greg.

DONALD (V.O.)  
...the maggots have finally found  
the man. They're the only things  
that will miss the stinking  
homeless man...

The metal box has a three-digit combination on it. Greg quickly figures out the code and lifts the lid. Inside are Donald's legal papers and newspaper clippings.

Greg picks up newspaper clippings with headlines: 'SERIAL KILLER KEEPS LAS VEGAS UP,' 'SERIAL KILLER WRITES NEWSPAPERS, CALLS HIMSELF GLASS,' '6 YEAR OLD SOLE SURVIVOR OF GLASS KILLER'S LATEST ATTACK.'

ECKLIE (O.S.)  
I remember that case.

Greg jumps, trying to scramble to his feet as he turns. The clippings scatter, he knocks the books over, the trunk lid slams closed on his hand. Greg sees it's Ecklie and sits down, holding his hand.

ECKLIE  
I didn't mean to scare you. Sorry.

Greg doesn't acknowledge the apology. He notices Ecklie's holding evidence bags and a lantern.

GREG  
Where's Nick?

ECKLIE  
We got a tip on Donald Conway's  
location. Nick insisted on being  
there when the kid is arrested.

Ecklie sets the bags and lantern down. He takes gloves from Greg's kit and puts them on, then starts picking up the scattered evidence. Greg joins him. Ecklie stops, looking at the headline about the surviving child.

ECKLIE  
I kept thinking Donald's name  
sounded familiar. I was second  
level when I worked this case. I  
remember he asked for Emily the  
entire time, but no one related to  
him, or that knew him, was named  
Emily. I've always wondered what  
happened to him.

GREG  
(angry)  
He grew up to be a fifteen-year-old  
serial killer.

Ecklie glances at Greg.

ECKLIE  
It's not entirely his fault.  
Something tells me he never had the  
help he needed to get over seeing  
his parents killed.

Greg stops, staring at Ecklie in disbelief.

GREG  
He's fifteen! A fifteen-year-old  
kid killed Grissom!

ECKLIE  
He's not dead yet, Greg.

GREG  
Stop with the "I care" bullshit,  
Ecklie! He has a DNR. His  
healthcare advocate will--

ECKLIE  
I'm his advocate. I was able to get  
the DNR thrown out and ordered the  
life support.

GREG  
Why would he have chosen you?

ECKLIE  
I guess because like everyone else,  
he thought I didn't care what  
happen to him.

Ecklie hands the newspaper clipping to Greg and heads back to the stairs. Greg thinks about the answer.

GREG  
But you do care.

Ecklie stops on the ladder with his head above the floor. He looks at Greg.

ECKLIE  
Get that evidence bagged and to the  
lab, then I want you to take ten  
hours off. It's not an option,  
Sanders.

Ecklie disappears. Greg starts bagging evidence.

EXT. I-515 UNDERPASS - DAY

Brass, Nick, and four officers walk through a transient camp. The homeless look at them, but are quick to avoid further eye contact. Two officers stop people and show them a picture of Donald.

Finally two homeless men point toward an overpass column. The group walks through the camp. They come around a 'house' and stop.

Donald Conway is spray painting EMILY in giant red letters. The writing is as high as he can reach.

BRASS  
Donald Conway.

Donald turns, sees the police, and the chase is on!

INT. SUNRISE HOSPITAL - ICU ROOM 4 - DAY

Greg walks into the hospital room, staring at Grissom. It shakes him to see someone he looks up to in this condition. He turns his head, looking down at Sara. She's curled up in the recliner with a hospital blanket draped over her.

Greg walks over and crouches down before waking her. She stares at him for a moment and then hugs him. He returns it.

GREG  
Hey there.

Sara squeezes tighter. Both look up when the heart monitor alarm goes off as it loses sinus rhythm. Sara climbs out of the chair, grabs Greg's wrist, and pulls him back against the wall. Doctor Ian and the nurses rush in and go to work reviving Grissom.

SARA  
That's the fourth time in two hours.

Greg just stares.

EXT. SUBURBIA LAS VEGAS - DAY

Donald races through a yard, leaps a fence into an alley, and hits the ground running. Only Nick and one young officer have been able to keep up. Donald comes around the corner to find police cars speeding toward him.

He dashes across the street and vaults over another fence. Nick and the officer are close behind. The drop lands them in a yard with a kennel of Doberman Pinschers. The dogs bark angrily at the intruders.

As Donald passes the end, he lifts the gate latch. Nick reaches the gate before the dogs and smacks it shut on them, but doesn't lose pace. The three dash out of the yard and around a house...

INT. SUNRISE HOSPITAL - ICU ROOM 4 - DAY

Suddenly the heart monitor has rhythm again, but it's erratic. Doctor Ian watches the monitor. Sara, on the other hand, is relieved. She smiles, looking up at Greg's grim expression.

SARA  
What?

Greg looks down at her.

GREG  
Five times in two hours? You know  
that's not good. This is the end,  
Sara. He's--

SARA  
He is not dying.

Greg doesn't try to argue. Sara lets his wrist go, stepping away. The monitor alarm goes off again. Ian and the nurses work to revive him.

EXT. SUBURBIA LAS VEGAS - DAY

Donald has lost Nick and the officer, but overhead a helicopter is following him. He tries to lose it by running through garages or under trees.

He jumps a fence into an alley and slides to a stop when he finds a police car waiting. He turns to run the other direction as another police car turns down it.

Donald scales the privacy fence on the other side and drops right into Nick and the young officer's arms. Donald fights as they wrestle him to the ground.

He looks up and his eyes widen. He sees Grissom's little girl. Now she holds a terry cloth cat. Her sad expression melts even this killer's heart.

DONALD  
Help me, Emily! I'll do whatever  
you want. Tell me what to do.  
EMILY, HELP ME!

The child does nothing to help him.

Donald grabs for anything that will help him fight off Nick and officer. He throws rocks at the girl, but misses by a long shot.

The two finally get Donald on the ground and Nick holds him while the officer handcuffs him. The cuffs make a loud click.

INT. SUNRISE HOSPITAL - ICU ROOM 4 - DAY

Doctor Ian snaps the power button off on the monitor, silencing it. The nurses working on Grissom move away. They didn't want to lose him, but they know when to give up.

SARA  
What are you doing? You can't stop!

IAN  
Time of death thirteen hundred and  
forty-six hours.

SARA  
No! You can't stop, Ian! Keep  
trying. He doesn't want to die!

Sara takes a step toward Ian and Greg grabs her wrist, stopping her. She glances at him, shaking her head.

SARA  
Gil doesn't want to die, Greg. He

doesn't want to.

She turns back to Ian. The doctor is pulling the bed sheet over Grissom's head. It's enough of a reality to silence her. Greg lets her go and she walks up to Grissom. She pulls back the sheet. With trembling hands placed on either side of his face, she cries.

INT. CSI - HALLWAY - DAY

For it being the middle of the day, the halls are eerily quiet. People are hunched over their work, or huddled in groups. In the corridor, at the end of a row of chairs, sits Nick.

Papers and photographs from his case file are scattered across the floor but he's oblivious to that. His cell phone rests in his hand, open and forgotten. He looks like a statue positioned to eternally stare across the lab.

ON PHONE SCREEN

Grissom passed 13:46. Come soon.

**BACK TO SCENE**

Brass passes in front of Nick, careful to avoid the case file papers and photographs. He sits down next to the CSI.

BRASS  
Damned thing, this.

Nick only responds with his eyes.

He looks into the trace lab. Wendy is hunched over, but she's not working, she's crying. Hodges leans near her, not to see the results, but to comfort her.

In the chem lab, Henry, Bobby, and Mandy are huddled together to support each other.

Off in the A.V. lab, Archie isn't staring at anything. He's staring blankly at the floor, his cell phone forgotten in his limp hand.

BRASS  
We still have to interview the kid, Nick.

Nick's eyes drift to the spilled case file.

BRASS  
You want someone else to handle this?

Nick shakes his head.

BRASS  
Then what? I mean, I understand  
wanting to shut down, because  
believe me, I want to get in my car  
right now and drive as fast as I  
can to anywhere but here, but...  
This is Grissom's case, even if he  
wasn't on it. He wouldn't want it  
to end like this, Nick.

Nick puts his phone back on his belt. He drops to a knee and starts gathering up the papers and photographs, organizing them for the interview. He stands, looking down at Brass.

NICK  
I'm ready. How 'bout you?

Brass stands and the two head down the hall and around a corner...

INT. INTERVIEW ROOM A - DAY

Nick sits opposite Donald. The kid may only be fifteen, but his eyes are the cold, dispassionate eyes of a killer. He has no remorse. His thirst for blood is unquenchable. Grissom never stood a chance against this demented child.

Standing on either side of Donald are two officers. Brass stands back, letting Nick do his job. A child advocate stands next to him, making sure the child's rights are not violated.

NICK  
Tell me where you were two nights  
ago, Donald.

DONALD  
You know that answer, or we  
wouldn't be talking, would we?

Donald leans forward, setting his cuffed hands on the table. The move makes the officers move closer. Nick doesn't pull back. He looks down at the child's soft, smooth hands untouched by life. Wasted youth.

DONALD  
Or would we, Mister Stokes?

Nick doesn't react to Donald knowing his name.

NICK  
Your fingerprints are on the guns  
and the crowbar used to kill eight  
people. I--

DONALD  
I only killed one with the crowbar.

A dreamy look comes over Donald.

DONALD  
I hope I get another like that one.  
He didn't cry for help. He didn't  
beg for his life.

Nick stares at Donald. He's been unsettled. Luckily, Donald is too busy daydreaming about his kill to notice and it gives Nick time to pull it together.

NICK  
What did he do?

Donald focuses on Nick.

**INT. FRITZ HOME - BASEMENT - NIGHT (RE-ENACTMENT)**

**Grissom walks down the steps again.**

**GRISSOM  
Tom? Are you down here? Where are  
the bodies?**

**Behind him, Donald comes around the corner and starts down the stairs behind him. Grissom stops, barely turns his head. He knows someone is behind him. He takes one slow step at a time. **

**Just as Donald brings the crowbar swinging down, Grissom spins and throws his kit at Donald. It surprises the teenager, but the movement throws Grissom off balance. He staggers down the last few steps, trips, and falls. **

**Donald is on him like a rabid dog. Grissom suddenly plays dead. Donald gets up and walks away, still carrying the crowbar. **

**Grissom opens his eyes. He's hurt badly, but not mortally yet. He finally gets to his feet and heads up the stairs to the front door. **

**INT. FRITZ HOME - HALL - NIGHT (RE-ENACTMENT)**

**He hears a girl begging someone to stop, his hand inches from the door handle. Grissom knows better. He hears her beg again and he chooses to protect over serve.**

**He turns and starts up the stairs. **

**INT. FRITZ HOME - UPSTAIRS HALL - NIGHT (RE-ENACTMENT)**

**He's almost to the room when out of nowhere Donald flies at him with the crowbar. Grissom fights for his life. Donald forces him into the bathroom. **

**INT. FRITZ HOME - MAIN BATHROOM - NIGHT (RE-ENACTMENT)**

**Grissom makes a move that throws Donald off and pulls the crowbar away. He won't attack Donald with it and tries to escape. **

**Donald is too fast and forces Grissom to use the crowbar and his body to defend himself. Donald gets the crowbar away and savagely beats Grissom...**

**BACK TO SCENE**

DONALD  
And even then he wouldn't die. I  
had to shoot up the closet just to  
shut him up!

NICK  
That man lived, Donald, for three  
days. That only makes the charges  
worse for you.

Donald leans in. He's stopped when an officer grabs his shoulder.

DONALD  
Were you two close? I can see why.  
I've never respected someone so  
much like I did that one. I want  
another one just like him. Not  
those whiny, sniveling fucks that  
beg and pray and barely put up a  
fight. Someone who has a lot to  
live for and fights for it.  
Someone hard to kill.

Nick sits back in an attempt to calm his anger and not screw up the case. Donald mocks him, sitting back just like him. It's a sign that underneath the killer, there is still a little boy who doesn't quite comprehend his situation. That worries Nick.

NICK  
Did you kill your family, Donald,  
or did your accomplice?

DONALD  
That wasn't my family.

NICK  
They were your foster family since  
you were six.

When he grins, Donald's insanity bleeds through. There is raw sadistic pleasure in it.

DONALD  
My family was murdered. Have you  
seen the pictures? The man cut out  
my father's heart and slit him open  
like a pig. He raped my mother as  
he strangled her. He told me about  
it, he reminds me about it all  
the time.

NICK  
How is your parent's murderer  
telling you what happened? He's dead.

DONALD  
In my head. Long live Harris! Long  
live Klebold!

Nick is unmoved by the psychopath's homage to his idols.

NICK  
Why were you writing Emily when we  
found you? You wrote it all over  
the house too. Who is Emily?

Donald laughs but it's nervous. Nick picks up on it.

NICK  
Who's Emily? How is she connected  
to this?

DONALD  
Stop saying her name. You should  
never say her name.

NICK  
I want to know who Emily is.

DONALD  
Don't say her name!

Nick would smile with vengeance if he could. He can barely mask how he's relishing in watching this juvenile killer squirm.

NICK  
Who is she, Donald?

Donald looks past Nick into the hall. Emily stands outside the room. She has her stuffed cat clutched to her chest. Her other hand is pressed against the glass. She's crying, slowly shaking her head.

DONALD  
(to Emily)  
Why won't you talk to me anymore?  
Please, help me.

Everyone else in the room looks, but they see nothing. Nick looks back at Donald.

Donald sees the girl turn her back on him and walk away.

DONALD  
Wait! EMILY WAIT!

Donald tries to get up but the officers push him down.

DONALD  
COME BACK!

Nick slams a hand on the table, getting Donald's attention.

NICK  
Answer me, Donald. Who is--

DONALD  
When you first see Emily, you will  
fear her. When Emily comes again,  
you will be no more.

Nick knows this phrase. He shuffles through his papers and photographs. He pulls out four photographs: two of the refrigerator, two of the main bathroom mirror. He sets them in front of Donald.

NICK  
You wrote this at the house. What  
does it mean?

Donald's wickedness returns.

DONALD  
I don't know.

NICK  
Donald, who is Emily?

Donald lunges at Nick, his hands outstretched to grab Nick by the throat.

DONALD  
STOP SAYING HER NAME!

Nick leaps from his chair as the police officers grab Donald. He moves back with Brass and the advocate. The three are dumbfound as they watch the officers try to subdue the crazed teenager.

BRASS  
(quietly)  
I've seen scary killers in my time,  
Nick, but this kid is damn scary.

The advocate and Nick both nod.

The officers finally get Donald in his chair and under control. They look up at Nick.

NICK  
We're done.

With a struggle, the officers get him to his feet and lead him out. The advocate follows behind. Donald's cold, killer behavior has returned.

He lunges at people as he passes, and laughs when they jump away in surprise or fear. He starts loudly singing 'I wanna be an airborne ranger...'

NICK  
He's going to get away with this,  
isn't he?

BRASS  
I hope not, but...

Nick is disappointed. He turns and starts gathering his case file together.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

INT. CSI - DNA LAB - DAY

Greg's world spins slowly. People come, people go, people reappear only to disappear again. Flashes of color mix with flashes of light.

Greg's spinning stops abruptly when a hand grabs his shoulder. He looks up as Ecklie steps around him. It's hard to tell if Ecklie is angry or indifferent.

ECKLIE  
What are you doing here, Sanders?

Greg looks at the linoleum, shrugging.

ECKLIE  
It's a guess, but spinning on a lab  
stool probably won't help you  
sleep, just make you sick.

Greg doesn't respond. Ecklie drops his hand from his shoulder.

ECKLIE  
You're not clocked in, are you?

Greg shakes his head.

ECKLIE  
I'll make you a deal. You go get  
some sleep, and I'll ask Robbins if  
you can assist when he comes in.

Greg looks up at him.

GREG  
Why would I want to assist Robbins?

ECKLIE  
Grissom is being brought here for autopsy.

Greg's eyes start to water.

ECKLIE  
So that's the deal. I'll come look  
for you in the break room.

GREG  
I'll never forgive you if you're  
just trying to trick me into  
getting sleep for my shift, Ecklie.

Ecklie's stern expression softens just a little.

ECKLIE  
I wouldn't do that.

Greg gets up and leaves. Ecklie watches him leave and then slowly looks back, finding **HODGES** standing there. Hodges smiles.

ECKLIE  
What?

HODGES  
I was just admiring how you handled  
that. Convincing him--

ECKLIE  
Not one more word. Either get to  
work or go home.

Hodges quickly chooses the work option.

EXT. CATHERINE'S HOME

Catherine sits on the back steps of her house. Her red eyes are all that's left of her tears. She hears the back door open.

CATHERINE  
Is grandma here, Linds?

She turns her head, surprised to see Sara sitting down next to her.

SARA  
She was leaving when I got here. I  
told her I'd tell you.

Catherine leans forward on her legs.

CATHERINE  
How are you holding up?

Sara tries to resist the tears, but they're stronger. Catherine puts her arm around her, comforting her.

INT. NICK'S HOUSE - BEDROOM - DAY

Nick leaves the bathroom towel drying his hair. His bedroom is darkened with tinfoil over the windows. He tosses his towel in the hamper and crawls into bed. After shutting off the light he tries to get settled, but ends up tossing.

Finally he falls onto his back, staring at the ceiling. The first signs he's feeling the loss settle on his face.

INT. AUTOPSY A - NIGHT

David wheels in a gurney with a body bag. Greg and Robbins wait for him at an autopsy table, both dressed for an autopsy. David stops the gurney and unzips the bag to reveal Grissom still in bandages and casts.

The three carefully move him from the gurney to the table. David wheels the gurney away and disappears in the back. Robbins organizes his tray of tools and then turns.

Greg stares at Grissom's face and looks like he might vomit any minute.

ROBBINS  
Greg, are you sure you want to be  
here? Maybe we should ask someone  
from day or swing.

GREG  
I'm fine.

Robbins doesn't argue. He picks up a pair of scissors and hands them to Greg.

ROBBINS  
Cut off the bandages. The red  
trashcan here is for biological  
waste. The metal one is for  
biological waste that needs to go  
to trace. Anything touching his  
skin goes in there.

Greg nods and starts cutting. Robbins picks up a motorized cast saw and starts cutting away the casts. David returns dressed for autopsy and they quickly finish. Robbins and David stop, waiting for Greg. He doesn't notice.

ROBBINS  
Do you need to photograph the  
injuries again?

Greg jerks into motion and grabs a camera. He quickly photographs and sets it down.

ROBBINS  
We'll let you know when we're done.

GREG  
What do you do next?

ROBBINS  
Bathe him.

GREG  
Can I do that?

ROBBINS  
It's not protocol, Greg. I--

GREG  
Please?

The coroner stares at him, conflicted. He finally hands Greg a sponge from the table of tools.

ROBBINS  
Start with the hair, and then work  
your way down. Don't miss a spot.

Greg takes it. He reaches overhead and pulls down the hose. Depressing the lever on the side releases a gentle stream of warm water from the nozzle. With care and respect, Greg starts washing Grissom.

The coroners begin preparing for the Y incision.

GREG  
Well, Grissom, the case is closed.

Robbins and David both turn, staring at Greg. He's oblivious to it. He's dealing with his loss the best way he knows how.

GREG  
We're hoping the kid doesn't get  
away with an insanity plea, but...  
We'll see.

Robbins lays his hand on David's shoulder, guiding him toward the door.

GREG  
You wouldn't believe how Ecklie's  
been behaving. You probably would  
have found some way to give him a  
hard time. We're going to pack  
your office today. I hope you  
don't mind if I keep the shrunken  
head and...

The coroners exit. David is confused, keeps looking back while they walk.

INT. CORONER'S OFFICE - HALLWAY

Robbins stops at a biohazard chute and starts stripping to his scrubs.

DAVID  
It's not procedure to leave a CSI  
doing that.

ROBBINS  
I don't know what you're talking about.

DAVID  
We just left... Oh. I see. Should  
we go get a cup of coffee?

David starts stripping to his scrubs too.

ROBBINS  
Or two. Give them time for a good conversation.

The two morticians head for the elevators.

DAVID  
I'm sure there's a lot Greg has to  
tell Grissom since he's been gone.

FADE OUT.

INT. GRISSOM'S OFFICE - NIGHT

It would take the entire night crew a month of Sundays to clean out this office. The shrunken heads sit on top of the filing cabinets, recently subjected to their semi-annual dusting and relocation.

On a shelf at the back, a row of radiated pig fetuses float in embalming fluid. Most of the books on the shelves are dedicated to entomology or forensics.

Save a small section in the middle of the back middle shelf. Here there is a sampling of books covering a variety of strange, New Age, or metaphysical topics.

In one of the chairs in front of Grissom's desk sits seven-year-old **EMILY** Patterson. She has bright blond hair pulled into curly pigtails, wears a pink dress, and holds a stuffed terry cloth cat on her lap.

Hanging from the arm of the chair is a Dora the Explorer backpack. A copy of 'War and Peace' peeks from an unzipped pocket. She stares intently across the desk at the very much alive Doctor Gilbert Grissom.

Grissom leans on his desk. He is stunned by the tale she has just spun and doesn't know how to react to it.

EMILY  
This is why, Doctor Grissom, you  
must take precautions today. If you  
die, it will have a profound impact  
and destroy those close to you. And  
since I need your help, I had to  
come here to tell you how to avert  
your death. Perhaps after this you  
may even consider taking that day  
supervisor position you were offered.

Grissom barely lets on he's surprised she knows about an offer he hasn't told anyone about.

GRISSOM  
Emily... If you are an Indigo  
child, of which I'm still not  
convinced, I still--

EMILY  
(insistent)  
I am an Indigo child.

GRISSOM  
How do you know that?

EMILY  
I just do.

GRISSOM  
I'm sorry, Emily, but there is no  
empirical evidence to prove the  
existence of Indigo children.

EMILY  
People believe in God even though  
there is no empirical evidence that  
he exists.

It will take more than a theological comparison to squash Grissom's skepticism.

GRISSOM  
Let's pretend I have accepted that  
you are one. Why would your mother  
let you come here alone in the  
middle of the night?

When she shakes her head, Emily's curly pigtails bounce merrily. Only Shirley Temple could be cuter. But Grissom is focused and her appearance won't distract him.

EMILY  
If you know about my kind, you know  
we do as we have to in order to  
better the world. Sometimes that  
means disobeying authority, so my  
mom doesn't know that I'm here. It  
upsets her enough when I tell her  
what I know.

GRISSOM  
Frankly I'm unnerved by what you  
claim to know. Like the vast majority,  
I don't want to know how or when  
I'm going to die.

EMILY  
This death is avoidable Doctor  
Grissom and I need you to live so  
you can help me save people.

GRISSOM  
People you've had visions of?

EMILY  
I don't have visions. I go to where  
they are and watch how they die so  
I can learn how to prevent it.

GRISSOM  
Are you saying you time travel?

EMILY  
No. I would be able to see everyone  
then. I only see the people I have  
to save.

GRISSOM  
Of all the CSI and police here, why  
did you choose me?

When she smiles it brightens the room and almost entices Grissom to respond to it.

EMILY  
Because you want to believe, and I  
need you to. We both need each  
other for similar but very  
different reasons.

GRISSOM  
And you're telling me that if I  
take the extra precaution as you've  
suggested, I won't be killed?

Emily nods, bouncing her pigtails.

GRISSOM  
And no one has told you this is  
going to happen?

She shakes her head with bouncing pigtails.

GRISSOM  
I guess precautions won't hurt any. Could--

Emily jumps up and grabs piece of paper and pen, writing something down. She hands it to Grissom.

GRISSOM  
What's this?

EMILY  
The address you would have died at,  
where the murders have occurred.

Grissom takes it, staring at the address. Emily's penmanship is beyond her years, just like her vocabulary.

EMILY  
Donald will still get away, even  
with the extra police there, but  
you know where to find him next. In  
three days, under the overpass,  
writing my name.

GRISSOM  
Why will he be writing your name?

EMILY  
I've tried to talk to him more than  
once, but he refuses to listen to  
me. He thinks I'm just one of many  
voices in his head.

GRISSOM  
I don't understand.

EMILY  
It's an Indigo thing. You can't understand.

GRISSOM  
I could try.

EMILY  
I'll explain it when you're ready  
to listen to me. You're still too  
skeptical.

Her objection does not make him happy, but he moves on.

GRISSOM  
If you saw this murder happen, and  
it's as brutal as you say, why  
doesn't it bother you?

EMILY  
It does bother me. When I first  
visited your death I cried and had  
nightmares about it, but then Mom  
decided we were going to move here  
and I knew I could save you.

GRISSOM  
But not the Fritz family?

EMILY  
I tried. I left as soon as mother  
thought I'd gone to sleep, but the  
buses were too slow. The family  
isn't significant enough.

GRISSOM  
And these others you want my help  
saving are?

EMILY  
Yes.

GRISSOM  
How?

Before she can answer, Catherine walks in. She's reading the call tickets and hasn't seen Emily yet.

CATHERINE  
We weren't even here twenty minutes  
and got slammed. Grissom, we need  
another CSI and--

Catherine looks up, stopping. She and Emily stare at each other.

CATHERINE  
(to Emily)  
Hi there.

Emily flashes her a smile. She pulls on her backpack and then turns back to Grissom.

EMILY  
Be safe, Doctor Gilbert Grissom.

Grissom finally smiles.

GRISSOM  
I promise.

With bouncy steps Emily leaves the office. Catherine watches her disappear and then turns back to Grissom. He's staring at the paper Emily gave him.

CATHERINE  
Gil, who was that?

GRISSOM  
Is one of those calls at 313 Roper?

She looks through the calls and pulls out the matching one.

CATHERINE  
How did you do that?

GRISSOM  
It says the neighbors reported  
gunshots. Officer requested CSI for  
multiple deaths. Am I dead on?

CATHERINE  
Any deader you'd be a corpse.  
What's going on?

Grissom stands, grabs his jacket, and takes the sheet from her.

GRISSOM  
Can't talk about it yet. You take  
the accident - most likely the  
driver fell asleep at the wheel,  
but verify it. Send Nick out to  
Flamingo drive with a lab tech so  
they can get the door off. Give  
Greg the hotel.

Grissom starts out the door. He turns in the hallway.

GRISSOM  
One more thing.

CATHERINE  
You're going to tell me how you  
knew those were the calls I'm holding?

GRISSOM  
If you start calling me at any time  
tonight but I don't answer after  
several tries, come immediately. If  
you wait too long... Just come. And  
bring backup. Lots of it.

CATHERINE  
Another premonition?

GRISSOM  
Perhaps. Have a safe night.

Grissom hurries off. He disappears around a corner as Ecklie comes around another. Catherine doesn't notice him, she's staring where Grissom disappeared.

ECKLIE  
Where's Gil?

Catherine looks at him.

CATHERINE  
Going to a crime scene. Why?

Conrad walks away.

ECKLIE  
Tell him I need to talk to him if  
you see him.

CATHERINE  
It's nice you think of him as your  
buddy, Conrad. I'll let him know  
you're having Grissom withdrawal.

He ignores her. He dials a number on his cell phone and waits for an answer or voicemail.

ECKLIE  
Gil, your lawyer picked up the DNR.  
Call me when you get to your crime scene.

CUT TO:

THE END

WGA # 1216132

Written by A. Rhea King


End file.
